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This is the fourth Borzage film I have seen in which the Nazis are depicted as horrific evils or threats to the luminous lovers. Whereas "Little Man, What Now", "Three Comrades", "The Mortal Storm" are set in Germany, "Till we Meet Again" - a Paramount production - is set in occupied France during WWII, and it doesn't star Margaret Sullavan. Instead it centers on a nun (Barbara Britton) and her love for a fugitive American aviator (Ray Milland) and her tragic, spiritual awakening to the outside world. Their love transcends the hostile, war-torn background that surrounds them as they are chased by the Nazis.It's one of Borzage's most highly spiritual works, and the setting of a convent (in the beginning), the focus on the nun, the awesomely spiritual communion of the lovers – heightens its sense of spirituality. The photography (as always) is haunting and painterly. Britton & Milland are fabulous together; they make a lovely yet vulnerable couple that we can sympathize all along. The most memorable moment is the scene where Milland explains to her what marriage means to him. The way he defines marriage, the eloquence of his speech, the highly erotic scenes between them, not to say the remarkable radiance of Britton's face, are just sublime. I thought the ending was rushed and problematic; it didn't make sense to me. However I was very pleased with the rest of the film. I heartily recommend "Till We Meet Again", especially to Borzage fans, if you get a chance to watch it.
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